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<\/span><\/p>\n DESCRIPTION<\/strong><\/p>\n An introduction to contemporary strategies, systems, methods, and techniques of composing music for various genre and mediums. Compositions will be performed and critiqued. PREREQ: MUS 213. Students will compose music that demonstrates basic contemporary techniques of melody, harmony, form, rhythm, density, texture, and orchestration. Emphasis will be placed on composition techniques of the 20th and 21st centuries. Students will be able to identify significant contemporary composers, compositions, and compositional strategies through listening and score reading assessments. Students will utilize these compositional strategies in their own compositions.<\/p>\n TEXT<\/strong><\/p>\n CHAPTERS<\/strong><\/p>\n <\/span><\/p>\n SYLLABUS & STUDY GUIDES<\/strong><\/p>\n Please note that these materials may be amended and updated throughout the course of the term. Please check the posted date of each document to make sure you have the most recent edition.<\/p>\n <\/span> <\/p>\n MELODIC CONTOUR & ORGANIZATION (Dallin Chapter 2)<\/em><\/strong><\/p>\n <\/p>\n MODAL MELODIC SOURCES\u00a0(Dallin Chapter 3)<\/em><\/strong><\/p>\n <\/p>\n TWENTIETH CENTURY MELODIC PRACTICES\u00a0(Dallin Chapter 4)<\/em><\/strong><\/p>\n No. 29<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 41<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 55<\/a> <\/span><\/p>\n <\/p>\n THEMATIC METAMORPHOSIS & IMITATIVE PROCEDURES\u00a0(Dallin Chapters 12 & 13)<\/em><\/strong><\/p>\n No. 12<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 17<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 22<\/a> <\/p>\n CHORD STRUCTURE\u00a0(Dallin Chapters 6-9 & 11)<\/em><\/strong><\/p>\n NON-RHYTHMIC, ASYMMETRICAL METERS, & POLYMETERS\u00a0(Dallin Chapter 5)<\/em><\/strong><\/p>\n <\/p>\n TEMPORAL\/METRIC MODULATION<\/strong><\/p>\n <\/p>\n OSTINATO<\/strong><\/p>\n\n
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<\/span><\/p>\nMEDIA<\/span> SAMPLES<\/h2>\n
MELODY<\/span><\/h3>\n
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No. 58<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 62<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 86<\/a>
No. 99<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 101<\/a>\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 109<\/a><\/p>\n<\/blockquote>\n\n
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No. 29<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 79<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0|\u00a0\u00a0\u00a0\u00a0\u00a0No. 86<\/a>
No. 141<\/a><\/p>\n<\/blockquote>\n
\nHARMONY<\/span><\/h3>\n
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\nRHYTHM<\/span><\/h3>\n
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